New Software: Nobe OmniScope

https://timeinpixels.com/nobe-omniscope/

Nobe OmniScope is loaded with powerful features that make color grading easy.

Compatibility:
macOS, Windows

Available for various platforms:
DaVinci Resolve, Scratch, Premiere Pro & After Effects, Adobe Photoshop, Lightroom as well as DeckLink, UltraStudio, AJA U-TAP and more!

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Nobe OmniScope by timeinpixels. Scopes for a range of video and photography applications.

Commentary

Tomasz Huczek of timeinpixels tells me that their new scopes application will be adding support for Apple’s Final Cut Pro X aka FCPX in future.

In the meantime I am impressed by what timeinpixels states the company has achieved with the current version of Nobe OmniScope and look forward to future developments.

Links

fcp.co: Steve Bayes Explains Colorlab Ai, the Color Grading System Powered by Artificial Intelligence

https://www.fcp.co/final-cut-pro/articles/2306-steve-bayes-explains-colorlab-ai-the-color-grading-system-powered-by-artificial-intelligence

The artificial intelligence based colour grading system Colorlab Ai certainly looks like it could transform the grading process. Colorlab AI advisor and investor Steve Bayes explains why he became involved and how this technology should eventually become available to Final Cut Pro X users.

Links

Paul Leeming of Leeming LUT Pro Releases New LUTs & Updates for Fujifilm X Series, Blackmagic Design Pocket 4K & 6K, DJI Mavic Mini & Osmo Pocket, & GoPro 8

Regular readers may have noticed I have written posts about Australian cinematographer/director Paul Leeming and his Leeming LUT Pro look-up tables for top-quality video production for some years, so I will not repeat any of that here right now, save to say that Mr Leeming’s LUT sets are currently the best and they continue to become even better with every new version.

Fujifilm X-T4 with Fujifilm VG-XT4 Vertical Battery grip and Fujinon XF 16-80mm f/4.0 R OIS WR kit zoom lens.

As Paul recently wrote in his Facebook Group page (edits applied by me):

… I’ve spent the last six months developing a new methodology to make these the most accurate LUTs ever. That methodology, which takes into account all the edge cases I’ve seen here (S-Log2 gamut issues, green tints etc), is now being applied to all cameras.

Like a fine wine, it takes time, because I have set stupidly high standards for myself. I want these LUTs to be the be-all and end-all of accuracy. And honestly, with Athena and Pro II, I’m done for accuracy. There’s nowhere else to go.

Athena is my new go-to for actual work, since it’s a brighter starting point with a gentle S-curve built in, so that I can simply apply it and get to work colour grading creatively. But Pro II remains as the no holds barred Rec. 709 standard, bang-on for luma and colorimetry, baseline LUT.

My long term goal is to get all cameras upgraded, then move to some really high end Super Quickie packs based on the Athena series as the base. These will probably be paid, but it won’t be much, maybe 5-10 EUR. But they’ll be perfectly harmonised for Athena and fit like a glove.

Then I also want to provide Rec. 2020 LUTs for all cameras, but to do that I need a Rec. 2020 setup, so I’m waiting on the release of the LG CX 48″ TV / monitor, which will be Rec. 2020 compatible and OLED for perfect colorimetry and luma….

… [I] forgot to mention all the NEW cameras that will be added to the inventory too, like the original Mavic Pro, the Phantom 4 Pro, etc.

I have just downloaded the Leeming LUT Pro set for Fujifilm X Series, comprising the F-Log, Eterna Cinema, Pro Neg Std and HLG for Rec.709 LUTs, and am looking forward to shooting some fresh footage with F-Log in particular to try this latest version out.

I am also looking forward to the coming updates of the Leeming LUT Pro set for Panasonic G Series cameras.

James Miller’s DELUTS Creative LUTs Discounted 25%, with New LUTs Collections and Methodologies Added

Cinematographer/Director of Photography James Miller of DELUTS has been busy of late updating and adding to his DELUTS creative LUTs collections, most recently releasing a DELUTS Universe ARRI Set, a DELUTS Lightroom ACR Looks set, DELUTS C200 Looks and Transforms, DELUTS Overlook, DELUTS Universe Red Digital Cinema IPP2 Set v1 and DELUTS Universe, a whole new concept in sequential LUT application inspired by the beauty of Log C footage from ARRI’s ALEXA cinema cameras.

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Profile from DELUTS ACR Look Profiles collection applied to original TIFF file provided by James Miller of DELUTS.

“… I first started DELUTS in 2015 after years gathering look profiles that I have generated for film projects. I decided to share these and have tried to build upon this offering creative looks for Video and now for Lightroom & Photoshop using the new Profile system in CC 2018 versions.

The DELUTS Universe set was born after nearly 2 years building the back bone of the system. If you just need looks to go over the top of footage that you have already balanced, then thats the DELUTS Overlook set is a great place to start. If you are working with images and want the look of DELUTS with RAW, TIF, JPEG etc then the new DELUTS Lightroom ACR Looks is the one to use. I have offers when purchasing 2 certain sets. The DELUTS Lightroom ACR Looks & DELUTS OVERLOOK are a great match for video and stills.”

Links

9to5Mac: Logic Pro X gets major update: ChromaVerb, Vintage EQs, Multi Effects, more

https://9to5mac.com/2018/01/25/logic-pro-x-update-chromaverb-vintage-eq/

Apple has now released a new update for its flagship music recording software, Logic Pro X. While we are getting a very long list of minor tweaks and enhancements here, version 10.4 is bringing some major new features to the table along with some serious gear in the way vintage EQ emulation, new orchestral instruments, a pair of multi-effect plug-ins and hundreds of new sounds.…”

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Apple updates Logic Pro X to version 10.4 with the addition of new temporary detection technology, powerful new plugins, new Drummers, 800 additional loops and a new library for Alchemy synths with 150 cinematic presets.

Commentary

Apple’s affordable though high-end sound and visuals post-production software suites, Final Cut Pro X and Logic Pro X, have been given some impressive updates recently with the former gaining pro-quality colour grading features while the latter has received plenty of music-oriented improvements and content.

Now the stage is set for Apple to introduce some really big, long-needed improvements in its audio-editing and sound design capacity to equal or surpass the credible threat rendered by Blackmagic Design’s DaVinci Resolve 14 and its built-in Fairlight Audio page tools obtained as the result of the purchase of the legendary Fairlight audio and video hardware and software company.

Apple’s two separate post-production suites need to be made to work together in a far closer, far more intuitive way than they do at the moment to the degree that it would be unthinkable to use one without the other.

Let us hope that Apple has some pleasant surprises up its sleeves this year, but not too late in the year as Blackmagic Design is already roaring ahead with full audio integration in the free and paid-for versions of DaVinci Resolve 14.

Links

Ronny Courtens: Colour Grading Workflow in Final Cut Pro X Using Chromatic

“… In his presentation at the FCP X World event at IBC, Roger Bolton from Coremelt demonstrated how you can accelerate grading, enhance client presentations and get great results quickly using the Chromatic grading tool….”

Links

Leeming LUT One for Panasonic GH5 and Other Panasonic Cameras Now at Version 501, Supports HLG, V-Log L and Cinelike D

NOTE: Since this article was written some time ago, Leeming LUT One has been updated and improved again with version 502 and is to be followed soon with version 601.

You may wish to read this more recent article here:

Australian cinematographer/director Paul Leeming has released version 501 of his groundbreaking Leeming LUT One camera profile 3D LUT for the Panasonic Lumix GH5 4K Super 16/Micro Four Thirds camera in three flavours based on which picture profile your footage is shot with – Cinelike D, HLG or V-Log L. 

Still frame of Paul Leeming, shot on Panasonic Lumix GH5 in HLG HDR mode then processed in Blackmagic Design DaVinci Resolve Studio 14.

Mr Leeming chose the GH5 as his benchmark camera and will be updating other Leeming LUT One camera profile 3D LUTs soon, enabling cinematographers using a range of cameras to start “with a common, colour-matched baseline, meaning much less time trying to match cameras in post before starting your creative grading”.

Users of previous versions of Leeming LUT One may notice a change in the behaviour of version 501 when applying it to old footage, resulting in a darker rendition:

The new philosophy is zero brightness shift in the LUT itself, so the only shift is to the colour values. At first this may seem like the LUT is not doing anything, but watch skin tones in particular when you apply it and you’ll see the difference. Of course the other colours are fixed too, but skin is where you’ll see it most easily as it’s a pretty obvious shift from yellow to skin tone.

Leeming LUT One for Panasonic Lumix GH5 and X-Rite Color Checkers

Leeming LUT Quickies, a set of free looks LUTs, will also be updated to work better with Leeming LUT One version 501 but in the meantime Mr Leeming advises using the current version at “40% intensity (or gain)”.

Given the colour science characteristics shared by current top end Panasonic Lumix cameras such as the GH5, GH4 and GX8, it appears possible to apply Leeming LUT One to all three cameras to obtain similar colour grading starting points.

I will be putting Leeming LUT One 501 for the GH5 to the test on GH4 and GX8 Cinelike D (aka Cine-D) footage over the coming days, but my early tests using a late beta of 501 showed marked improvements over previous full versions of Leeming LUT One.

Leeming LUT One for Panasonic Lumix GH5, HLG, Before and After

The GH5’s HLG (hybrid log-gamma) picture profile is intriguing given it is an HDR (high dynamic range) standard developed by the BBC and NHK for future program creation and broadcast in 4K and higher resolutions.

While HLG HDR 4K 10-bit 4:2:2 production and post-production are not fully supported by current hardware and software, the wisdom of future-proofing your work has been borne out many times in recent years starting with the move to 1080p and then 4K.

Mr Leeming and Leeming LUT One version 501 for GH5 users have reported anomalies in various non-linear editors and colour grading plug-ins when applying the LUT to HLG footage, and testing is currently under way to work out optimal software and workflows.

As with any radical advance in video production and postproduction, software needs to catch up with the capabilities of new hardware and this is no exception.

The advantages of HLG HDR may persuade movie and TV show makers to adopt it as their new default standard when it is fully supported.

Mr Leeming reports that:

My new favourite profile is Hybrid Log Gamma. It uses more of the 10 bit space than V-LogL, and has just as much dynamic range as far as I can see.

It also has slightly more accurate tonal density response (the relationship between colour and saturation/luma levels).

Best of all, it’s a free profile in camera, instead of a $100 activation code sent half way across the world….

Only down side is it’s not available in 8 bit, but for that, we can continue to use old faithful, Cine-D.

Roger Bolton of Final Cut Pro X plug-in maker CoreMelt has been sent Leeming LUT One to test it in his recent-released high-end colour grading and LUT application plug-in for FCPX, Chromatic, and I look forward to his report with interest.

Other such colour grading and LUT application software seems to be having problems with HLG footage.

Meanwhile Blackmagic Design’s DaVinci Resolve 14 Studio colour grading and non-linear editing software is reported to be handling the GH5’s 10-bit HLG HDR footage well and readers are encouraged to download the free version or invest in the paid version if they have not already done so.

Links

Image Credits

Header image concept and hack by Carmel D. Morris.

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Coming Soon: Review of Digital Film Stock (DFS) 3D LUTs for the Natural Look of Analog Film

Links:

The Edit Room: How to track a mask using Chromatic from Coremelt

“In this video, I show you a brief look at Chromatic from Coremelt, which you can download [as] a free trial at https://www.coremelt.com/products/chr…

Link: